Presentation lynn
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This document summarizes a presentation given by Professor Lynn Froggett on street drinking, new media, and community engagement. It discusses three lenses - assets based policy, ethical underpinnings, and socio-cultural depth hermeneutic. It then provides examples of "scenic compositions" using different styles like a novel, internet chat, fantasy fiction, and rap poem to immerse the reader in different perspectives. The presentation emphasizes the situated and processual nature of research and the need for researcher reflexivity.
![ „if we want to understand the
analysand‟s life practice, including his
concrete social reality, we must follow
the path laid down by his subjective
ideas and fantasies about relations‟. „we
must become attuned to his scenic
interaction forms as these unfold before
us‟ (1977 p125). These, which make up
the scenic composition, „lie between the
“inside” and the “outside”‟ and „their
interplay accounts for everything .. [it]
provides the basic model‟ (1986, pp41-
4)..](https://image.slidesharecdn.com/presentationlynn-130521043930-phpapp02/85/Presentation-lynn-17-320.jpg)
Presentation lynn
- 2. Lynn Froggett Professor of Psychosocial Welfare University of Central lancashire
- 3. Street Drinking, New Media and Community Engagement Cultural Value for reflective and engaged citizens Research Team: Lynn Froggett Mervyn Conroy Alastair Roy Julian Manley
- 4. Constitution of Real and Virtual Public Space Three Lenses: Assets based Policy Ethical underpinnings Socio-cultural - depth hermeneutic
- 5. Partner Organisation in Liverpool: FACT (Foundation for Art and Creative Technology)
- 6. 6
- 7. How to write a scenic composition Immerse yourself in the data Take a distance from it Call the experience to mind When it feels right write a one side account of „as it comes‟ Free associatively draw on the imagery it arouses Retain the original gestalt if you craft it
- 8. Scenic Understanding The „scene‟ - a complex whole - arises at the point of interaction between the subject and environment. It is always the primary object of perception before specific figures or „interaction forms‟ differentiate from the matrix of relations that compose it Alfred Lorenzer
- 9. The Novel I walk through peeling down- at- heel Liverpool …then the enveloping purple of the studio. The body will be cared for amidst the fleshlessness of new media. The caterers, recovered drinkers, are sociable, engaged, nurturing, redeemed. I feel wary of the technicians tinkering assuredly with keys, plugs, widgets and interfaces……
- 10. Internet Chat …guy who owns a bar, I think. Long curly hair – authentic? Bit posh. Artist? … angry bar woman - self-righteous. Mike bearded like Roger the compere. So‟s Ali. Bingeing to alcoholism … shock horror every time someone mentions cost to the tax payer. Cut your foot on glass. In Spain they have plastic glasses to binge. They‟re pay attention to my text, message, tweet, whatever... Lynn has come online. Yikes!
- 11. Fantasy fiction The world of new media is like the Jabberwocky -exciting, unpredictable - nonsense to the uninitiated. Like the Mad Hatters tea party people talk in riddles: platforms, web-clouds, information super highway, social media, new media. We just want to stay in the room with people who talk our language…
- 12. The Rap Poem How many are watching Observing and talking Don‟t know what they‟re thinking Words dribbling down screen Bringing their presence in Radio Roger is reminded Turns and reads While the room bleeds …
- 13. Interpretive procedure What is being said? How is it being said? Why is it being said in this particular way? What is the composition doing?
- 14. Crisis of Representation: no view from nowhere Interrogates notions of objectivity which rely on a subject object split in favour of a view in which all research implicates the position and view of the researcher Imperative of researcher reflexivity Research as a situated and processual activity
- 15. moral/ethical/political context permeates the research process methodological pluralism for multi- faceted lenses on the object. „rigour‟ re-cast from validity and empirical generalisability‟ to verification, plausibility, coherence and theoretical generalisability.
- 16. The scene is „in-between‟ subjective imagination and social reality. It partakes of the participating consciousness and unconscious of the researcher/observer and cultural resources held in common with the reader/audience which render it intelligible.
- 17. „if we want to understand the analysand‟s life practice, including his concrete social reality, we must follow the path laid down by his subjective ideas and fantasies about relations‟. „we must become attuned to his scenic interaction forms as these unfold before us‟ (1977 p125). These, which make up the scenic composition, „lie between the “inside” and the “outside”‟ and „their interplay accounts for everything .. [it] provides the basic model‟ (1986, pp41- 4)..
- 18. Reference Froggett, L. & Hollway, W. (2010) Psychosocial Research Analysis and Scenic Understanding. Psychoanalysis, Culture and Society, 15(3), 281-301.